The current production of Mozart’s Così fan tutte at the English National Opera is not one to miss. A combination of a bright fairground spectacle, quick humour and a very special aria from a hot air ballon, makes for an entertaining evening. The colourful staging and modern English translation make the opera accessible for anyone, offering something enjoyable for newcomers while still satisfying avid opera lovers.
This production is one of Mozart’s most well-known comedies and is directed by Phelim McDermott, with the set design by Tom Pye, costume design by Laura Hopkins, lighting design by Paule Constable and of course beautifully conducted by Dinis Sousa. It stars the very talented Lucy Crowe and Taylor Raven as two lovestruck yet susceptible sisters, and Joshua Blue and Darwin Prakash as the sisters’ lovers who disguise themselves in a comedic manner to test the purity of the two ladies. It also stars Ailish Tynan as the undervalued and intelligent chambermaid, with Andrew Foster-Williams as the pessimistic and mischievous friend of the two men.
This lively revival transforms the well-known comic opera into a vibrant theatrical 1950s playground. The Coney Island setting gives the story a visual clarity that helps audiences instantly grasp the tone: this is a social game, a romantic experiment, and a piece for all of the family.
By focusing on the experiment of fidelity, in which two young officers disguise themselves to test their fiancées, the production leans fully into the absurdity of the plot. The humour lands cleanly, helped by a translation that prioritises wit and directness, making the story easy to follow without losing the sophistication of the score. The contrast between playful deception and genuine emotion gradually deepens the piece, as the characters realise the consequences of their game.
Each performer balances strong vocal work with vivid character acting. The chemistry between the two couples makes the emotional reversals believable, while Don Alfonso’s dry manipulation and Despina’s mischievous interventions add spark to every scene they enter. The emphasis is always on recognisable human behaviour — jealousy, bravado and vulnerability — which helps first-time opera goers connect with the story as drama, not just music.
The set and costume design are bold yet highly functional. Bright fairground imagery, quick costume shifts and clever visual motifs reinforce the themes of disguise and doubling. Lighting moves the mood from carnival brightness to softer reflection as the opera approaches its ambiguous ending.
A particular standout performance for myself was that of Ailish Tynan as Despina. Her challenging vocals and quick-wittedness are played perfectly, with her acting skills being displayed in the numerous disguises she must take in order to aid Don Alfonso in his plot. Her voice is extremely powerful and was sung with the humour yet grace needed.
This production is a fun and intelligent evening at the opera. It respects Mozart’s score while presenting it in a world that feels immediate and readable. The mix of spectacle, humour and emotional honesty makes it perfect for those new to opera, as well as for long-time fans. Try not to miss it before the limited run finishes.